Pronounced "Freedy," Ms. McGuire joins her discoverer, Crosley Bendix, and his famed engineer, Wobbly, to make her first major media appearance AND her first CD at the same time. After Crosley explains how he discovered her, Freddy launches into song after questionable song in a totally twisted lounge mode with lyrics both improvised and written. Ridiculous for sure, but surprisingly, there are many cool and amusing musical ideas here too, even though virgin producer Crosley and neophite recordist Wobbly can rarely agree on what should be what or why. But thanks to Freddy, it's all unusually charming. Look for the results, "Freddy's Here," on the Sheeland label.

On Nov. 12 at Art Rattan, an Oakland performance space, a one-man
band called Wobbly fidgeted behind a multitrack digital workstation,
churning out a sonic stew comprised predominantly of samples culled
from local hip-hop station Wild 94.9. He generated a ludicrous chorus
of rappers chanting "yo"; throughout the set, hundreds of semirecognizable
urban pop shards were juxtaposed, often bizarrely. The performance, titled
Wild Why, was both amusingly surreal and jarring, an engaging combination
of tongue-in-cheek whimsy, dadaist collage, and social commentary.

Jon Leidecker, aka Wobbly, estimates he works on the Over The Edge radio
show seven or eight times a year; he's also collaborated with local artists
like Big City Orchestra or the Chopping Channel. His current Wild Why
project came about in part because his tape player broke, forcing him to
listen to the radio. Leidecker soon realized the sound beds of popular
hip-hop tracks were ripe fodder for plunder. "By taking the amazing sound
worlds they're coming up with in each of these three-minute songs and
isolating them, chopping them up, and freeing them from the strict tempo,
and also by detourn-ing the lyrical content so that it doesn't make sense
anymore, you can hear commercial rap as experimental music a little more
readily than you can in its pop shape," he explains.

Though Leidecker hopes to release the Wild Why project on CD soon, and plans
to include a credit list of artists sampled, he doesn't intend to pay out any
royalties to those same artists. "When we get into money, technically, with
over 300 artists on a single recording, who all appear in a matter of seconds
on a record that sells maybe one or two thousand copies, there's not going to
be any money for them," he says. "There's not going to be any money for me,
even."

And Leidecker argues he has the right as an artist to assemble a collage of
existing material. "I simply do not buy this shtick about how the artists
have the right to maintain total control over the use of their work," he
says. "Once you put your creativity on the table, you'd better be ready for
a creative response. And it's only very recently that you've started actually
hearing lawyers claim that the artists have the moral right to retain total
control over the way that their work is used." Musicians who use scavenged
audio are, in fact, waiting for the precedent-setting other shoe to drop:
While federal copyright law dictates general guidelines for "fair use," there
are no hard-and-fast rules regarding the artistic reuse of existing audio.
If anything, the rules are dictated by the market: The more money potentially
involved, the more likely it is that somebody will unleash the lawyers.

It's a cheeky bootleg mix of Bring The Noise over the theme from 'The Rockford Files' and it was done as a bit of a joke and a reaction against these types of bootleg records but nobody seems to have noticed despite the use of Funky Drummer as the backbeat and its had a good reaction although it is very badly produced.